among soviet fashionistas, and not surprisingly, selezneva’s outfits in this film were designed by fashionked on this film, and here you can also see that these are silhouettes from ivsanlar and silhouettes from pierre cardin, everything a little later, in general, such soviet fashion, it was always a little late, but still, but it looks just expensive, beautiful, impressive, yes, who else among the famous designers of that time collaborated with cinema, there was a fashion house in which these models, in general, were developed by vyacheslav zaitsev, i think this is the most famous name, of course, there were many fashion designers, many designers, but somehow fashion and cinema at that time were separated, and costume designers came either from the theater or there were art directors and costume designers, in the same carnival night, so interesting , there is a production designer, i think his name was konstantin efimov, he was also a costume designer in the film volga-volga and in some other films with lyubov orlova, that is, these are the same people who could make costumes and scenery

alisa selezneva., but kir boluchev’s autograph. numbers 600. early 2000 miami basketball player. i chose this game number in honor of one of the christian dogmas, maybe we are talking about the ten commandments, the tenth? number ten is not uncommon in basketball, but number three is really rare, usually in basketball - numbers start with four, he chose his number most often. the third to the trinity, obviously, the honor of the holy trinity, right, around the opera 400, it was he who wrote the libretto for all 13 operas of richard wagner, maybe he wrote it himself, right, the actor and the role of 400, according to edmond rastan, the soul for the main character of this play moved into the actor, like lena, who performed the role at the premiere . well, i only know one play by rostand, it’s serano da bergerac, you’re right, the education is light for 400. in israeli schools, classes like... are designated by a letter and a number, the difference is precisely this, yeah, well, probably they have it her

first one is the moscow holidays, sala, this is ninety something moscow vacations - this is with seleznevanema, such a tribute to your parents, and after that i want to say that you followed this line very well both as a producer and as an actor, barak was a landmark film, because in 2000 we received a state prize for this film with... i’m very for many years i played such episodes or abnormal people or criminals, and these are already such roles, but then i say with pride, i will tell you myself, leonid dials me and says, valera, listen, out of friendship, your song is needed in a movie, just desperately knife on the song, there is no money, i say, like there is no money, he he says, you won’t believe it, todarovsky and i, that’s it.

among soviet fashionistas, and not surprisingly, selezneva’s outfits in this film were designed by fashionigner vyacheslav zaitsev. now, if we talk about how fashion is connected to cinema, then there weren’t many moteliers, but vyacheslav zaitsev worked on this film. and here you can also see that these are silhouettes from ivsanlar and silhouettes from pierre cardin, everything is a little later, in general this is soviet fashion, it was always a little late, but still very much, expensive, beautiful, impressive, yes, who else among the famous designers of that time collaborated with cinema, there was a house of models in which these models were generally developed, here is vyacheslav zaitsev, i think. that this is the most famous name, of course, there were many fashion designers, many designers, but somehow fashion and cinema at that time were separated, and costume designers came either from the theater, or there were artists, stage managers and costume designers, so on the same carnival night, so interesting, the production designer there, uh, in my opinion, konstantin his name was e